The Arts Books

Book SynopsisThe cheering journal of merry philosophy, featuring Richard Coles on his new life by the sea, plus Virginia Ironside, Stewart Lee, Ukrainian fashion, Modern Toss and more

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Book SynopsisMeet Rupert Sheldrake, how to free your time, medieval carvings, Stewart Lee, sheds, beer and more

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Book SynopsisThe Third Hand presents the multi-faceted and experimental practice of Marton Perlaki. It captures the five year period from 2018 to 2023, during which time Perlaki moved from making figurative to abstract work. The title, The Third Hand, refers to an unknown force which, for Perlaki, exerts a quiet but powerful influence over the act of making work. Chance, seductive and unknowable, dictates that even if a series of steps are followed in exactly the same way, the outcome will be different. This potent magic plays a crucial role within his process. The book presents an enquiry; how can you give a concrete form to a practice which is continually reconfiguring itself? The accumulation of twelve discrete sections individual edits' disentangle the strands of Perlaki's deep and rigorous practice whilst demonstrating the ways in which they are intertwined.

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Book SynopsisSimon Devitt is a photographer with a strong practice focus in Photography of Architecture, currently based in Whanganui-a-Tara Wellington, in Aotearoa New Zealand. He has an established international practice throughout Australasia and further afield. Andrea Stevens practised architecture for 10 years before embarking on a new career in writing and editing in 2007. She has since contributed to two architecture books for Penguin; written for international titles AR Asia Pacific and Wallpaper*; is the New Zealand Contributing Editor for Australian magazines Habitus and Indesign; and Editor for the local bi-annual Design Guide.

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Book SynopsisBlack artists have been making major contributions to the British art scene for decades, since at least the mid-twentieth century. Sometimes these artists were regarded and embraced as practitioners of note. At other times they faced challenges of visibility - and in response they collaborated and made their own exhibitions and gallery spaces. In this book, Eddie Chambers tells the story of these artists from the 1950s onwards, including recent developments and successes. Black Artists in British Art makes a major contribution to British art history. Beginning with discussions of the pioneering generation of artists such as Ronald Moody, Aubrey Williams and Frank Bowling, Chambers candidly discusses the problems and progression of several generations, including contemporary artists such as Steve McQueen, Chris Ofili and Yinka Shonibare. Meticulously researched, this important book tells the fascinating story of practitioners who have frequently been overlooked in the dominant history of twentieth-century British art.Trade Review'Eddie Chambers' Black Artists in British Art is a breathtaking tour de force. Brilliantly conceptualised, beautifully written and inspirationally theorised, this volume's seminal contribution to art history is unparalleled. Spectacularly well researched and stunningly original, it is an exemplary scholarly feat, essential for researchers, students and general audiences alike, and one which offers yet further confi rmation of Chambers' reputation as the leading international scholar of his generation.' Celeste-Marie Bernier PROFESSOR OF AFRICAN-AMERICAN STUDIES, UNIVERSITY OF NOTTINGHAM; 'If you told most art-world types you were interested in black British art, they might point you to Yinka Shonibare, Chris Ofili, Steve McQueen, and-maybe-a couple of others. That's it. But if you really want to know about the history and context of this vital part of contemporary practice in the UK, Black Artists in British Art: A History Since the 1950s (I. B. Tauris) by Eddie Chambers is the book you need. Chambers writes an authoritative history of black British art, but also explores its fraught relationship with white, establishment institutions... a refreshing mix of the art historian's meticulous archival work, the thrilling, blow-by-blow account of the eyewitness, and the impassioned, candid argumentation of the seasoned critic.' - Chika Okeke-Agulu, ArtForumTable of ContentsBlack Artists in British Art: A History from 1950 to the Present Chapters Foreword: Celebrating Nelson’s Ships Introduction: Some Problems with History and its Treatment of Black-British Artists. Chapter One: The Pioneering Generation of Caribbean Artists Chapter Two: Early Contributions by South Asian Artists Chapter Three: The Significance of the 1970s Chapter Four: Uzo Egonu and Contemporary African Art in Britain Chapter Five: The Earliest Black-British Practitioners Chapter Six: South Asian Stories Chapter Seven: The ‘Black Art’ Generation and the 1980s Chapter Eight: The Rise and Fall of The Black-Art Gallery Chapter Nine: The Emergence of Black Women Artists: Arguments and Opinions Chapter Ten: Sonia Boyce and Other Black Women Artists Chapter Eleven: Substantial Sculpture: The work of Sokari Douglas Camp, Veronica Ryan, and Permindar Kaur. Chapter Twelve: Black Artists of the 1990s Generation Chapter Thirteen: The Triumphant Triumvirate: Yinka Shonibare, Chris Ofili, and Steve McQueen. Epilogue: The New Generation

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Book SynopsisPhenomenal Difference grants new attention to contemporary black British art, exploring its critical and social significance through attention to embodied experience, affectivity, the senses and perception.Featuring attention to works by the following artists:Said Adrus, Zarina Bhimji, Sonia Boyce, Vanley Burke, Chila Burman, Mona Hatoum, Bhajan Hunjan, Permindar Kaur, Sonia Khurana, Juginder Lamba, Manjeet Lamba, Hew Locke, Yeu-Lai Mo, Henna Nadeem, Kori Newkirk, Johannes Phokela, Keith Piper, Shanti Thomas, Aubrey Williams, Mario Ybarra Jr. Much before scholars in the arts and humanities took their recent ‘ontological turn’ toward the new materialism, black British art had begun to expose cultural criticism’s overreliance on the concepts of textuality, representation, identity and difference. Illuminating that original field of aesthetics and creativity, this book shows how black British artworks themselves can become the basis for an engaged and widely-reaching philosophy.Numerous extended descriptive studies of artworks spell out the affective and critical relations that pertain between individual works, their viewers and the world at hand: intimate, physically-involving and visceral relations that are brought into being through a wide range of phenomena including performance, photography, installation, photomontage and digital practice.Whether they subsist through movement, or in time, through gesture, or illusion, black British art is always an arresting nexus of making, feeling and thought. It celebrates particular philosophical interest in:- the use of art as a place for remembering the personal or collective past;- the fundamental ‘equivalence’ of texture and colour, and their instances of ‘rupture’;- figural presence, perceptual reversibility and the agency of objects;- the grounded materialities of mediation;- and the interconnections between art, politics and emancipation.Drawing first hand on the founding, historical texts of early and mid-twentieth century phenomenology (Heidegger; Merleau-Ponty), and current advances in art history, curating and visual anthropology, the author transposes black British art into a freshly expanded and diversified intellectual field. What emerges is a vivid understanding of phenomenal difference: the profoundly material processes of interworking philosophical knowledge and political strategy at the site of black British art.Trade ReviewReviews 'A wonderfully erudite, powerfully argued, and fascinatingly researched book.' Professor Celeste-Marie Bernier, University of Edinburgh'Leon Wainwright applies a philosophical methodology to black British artists' work to break open the separatist straitjacket that has prevented much of this work from circulating in art canons as anything other than representations of a politics of identity. … [His] aim to proffer the perceptual dimension of black British art as part of a transformative anti-racist politics is admirable and the book is well researched and thought provoking.'Maria Walsh, Art Monthly'Cette publication qui est un ouvrage de référence crédible pour le public, les universitaires et les chercheurs, poursuitles recherches sur l’historiographie et les lieux visuels, ainsi que d’autres thèmes avec pour objectif premier de questionner la visibilité de l’art ; à savoir, comment créer un art qui suscite des questions pertinentes, qui devienne significatif, ce que Wainwright définit comme ‘un engagement esthétique plus approfondi’.' 'This publication is a serious work of reference for the public, academics and researchers, advancing research on historiography and visual contexts, as well as other topics, with the primary objective of exploring the visibility of art; namely, how to create an art that raises relevant questions, that becomes meaningful through what Wainwright defines as 'a deeper aesthetic commitment'.' Suzanne Lampla, Association internationale des critiques d’art (AICA)'Offers a thoughtful and persuasive examination of the ways in which the theoretical is necessarily underpinned and presupposed by the perceptual... [With] rich descriptions throughout the book ... Wainwright is at his best and his argument at its most convincing, as he brings his phenomenological approach to bear on works of art to unravel the complex relationships between art, artists and the viewer.' The Burlington Magazine'The philosophical approach is the one chosen by Leon Wainwright in his book. An ambitious work by an art historian who has already published extensively on the subject, the approach is nevertheless surprising. [...] Stuart Hall, in emphasising what the diasporic element has produced in terms of dislocation since the upheaval of African slavery, reminds us that physical movement and displacement are at the root of "key elements of our present moment and symptomatic of the wider consequences of global connectivity and disjunction".'Translated from French:'L’approche philosophique est celle que choisit de privilégier Leon Wainwright dans son ouvrage. Ouvrage ambitieux d’un historien de l’art qui a déjà largement publié sur le sujet, le parti-pris surprend néanmoins. [...] Stuart Hall, en insistant sur ce que l’élément diasporique a produit comme dislocation depuis le bouleversement de l’esclavage des Africains, rappelle que mouvement et déplacement physiques sont "à l’origine des éléments clés de notre moment présent et symptomatiques des conséquences plus vastes d’une connectivité globale et d’une disjonction".'Elvan Zabunyan, Critique d'artTable of ContentsList of illustrationsIntroductionChapter 1 RepresentationChapter 2 Affective relationsChapter 3 Placing the pastChapter 4 The body and perceptionChapter 5 EquivalenceChapter 6 ReversibilityChapter 7 IntertwiningChapter 8 Art and mediationConclusion The phenomenal as practiceBibliography

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Book SynopsisPhenomenal Difference grants new attention to contemporary black British art, exploring its critical and social significance through attention to embodied experience, affectivity, the senses and perception.Featuring attention to works by the following artists:Said Adrus, Zarina Bhimji, Sonia Boyce, Vanley Burke, Chila Burman, Mona Hatoum, Bhajan Hunjan, Permindar Kaur, Sonia Khurana, Juginder Lamba, Manjeet Lamba, Hew Locke, Yeu-Lai Mo, Henna Nadeem, Kori Newkirk, Johannes Phokela, Keith Piper, Shanti Thomas, Aubrey Williams, Mario Ybarra Jr. Much before scholars in the arts and humanities took their recent ‘ontological turn’ toward the new materialism, black British art had begun to expose cultural criticism’s overreliance on the concepts of textuality, representation, identity and difference. Illuminating that original field of aesthetics and creativity, this book shows how black British artworks themselves can become the basis for an engaged and widely-reaching philosophy.Numerous extended descriptive studies of artworks spell out the affective and critical relations that pertain between individual works, their viewers and the world at hand: intimate, physically-involving and visceral relations that are brought into being through a wide range of phenomena including performance, photography, installation, photomontage and digital practice.Whether they subsist through movement, or in time, through gesture, or illusion, black British art is always an arresting nexus of making, feeling and thought. It celebrates particular philosophical interest in:- the use of art as a place for remembering the personal or collective past;- the fundamental ‘equivalence’ of texture and colour, and their instances of ‘rupture’;- figural presence, perceptual reversibility and the agency of objects;- the grounded materialities of mediation;- and the interconnections between art, politics and emancipation.Drawing first hand on the founding, historical texts of early and mid-twentieth century phenomenology (Heidegger; Merleau-Ponty), and current advances in art history, curating and visual anthropology, the author transposes black British art into a freshly expanded and diversified intellectual field. What emerges is a vivid understanding of phenomenal difference: the profoundly material processes of interworking philosophical knowledge and political strategy at the site of black British art.Trade ReviewReviews 'A wonderfully erudite, powerfully argued, and fascinatingly researched book.' Professor Celeste-Marie Bernier, University of Edinburgh'Leon Wainwright applies a philosophical methodology to black British artists' work to break open the separatist straitjacket that has prevented much of this work from circulating in art canons as anything other than representations of a politics of identity. … [His] aim to proffer the perceptual dimension of black British art as part of a transformative anti-racist politics is admirable and the book is well researched and thought provoking.'Maria Walsh, Art Monthly'Cette publication qui est un ouvrage de référence crédible pour le public, les universitaires et les chercheurs, poursuitles recherches sur l’historiographie et les lieux visuels, ainsi que d’autres thèmes avec pour objectif premier de questionner la visibilité de l’art ; à savoir, comment créer un art qui suscite des questions pertinentes, qui devienne significatif, ce que Wainwright définit comme ‘un engagement esthétique plus approfondi’.' 'This publication is a serious work of reference for the public, academics and researchers, advancing research on historiography and visual contexts, as well as other topics, with the primary objective of exploring the visibility of art; namely, how to create an art that raises relevant questions, that becomes meaningful through what Wainwright defines as 'a deeper aesthetic commitment'.' Suzanne Lampla, Association internationale des critiques d’art (AICA)'Offers a thoughtful and persuasive examination of the ways in which the theoretical is necessarily underpinned and presupposed by the perceptual... [With] rich descriptions throughout the book ... Wainwright is at his best and his argument at its most convincing, as he brings his phenomenological approach to bear on works of art to unravel the complex relationships between art, artists and the viewer.' The Burlington Magazine'The philosophical approach is the one chosen by Leon Wainwright in his book. An ambitious work by an art historian who has already published extensively on the subject, the approach is nevertheless surprising. [...] Stuart Hall, in emphasising what the diasporic element has produced in terms of dislocation since the upheaval of African slavery, reminds us that physical movement and displacement are at the root of "key elements of our present moment and symptomatic of the wider consequences of global connectivity and disjunction".'Translated from French:'L’approche philosophique est celle que choisit de privilégier Leon Wainwright dans son ouvrage. Ouvrage ambitieux d’un historien de l’art qui a déjà largement publié sur le sujet, le parti-pris surprend néanmoins. [...] Stuart Hall, en insistant sur ce que l’élément diasporique a produit comme dislocation depuis le bouleversement de l’esclavage des Africains, rappelle que mouvement et déplacement physiques sont "à l’origine des éléments clés de notre moment présent et symptomatiques des conséquences plus vastes d’une connectivité globale et d’une disjonction".'Elvan Zabunyan, Critique d'artTable of ContentsList of illustrationsIntroductionChapter 1 RepresentationChapter 2 Affective relationsChapter 3 Placing the pastChapter 4 The body and perceptionChapter 5 EquivalenceChapter 6 ReversibilityChapter 7 IntertwiningChapter 8 Art and mediationConclusion The phenomenal as practiceBibliography

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Book SynopsisIn a world where privatisation and capitalism dominate the global economy, the essays in this book ask how to make socially responsive communication, design and art that counters the role of the food industry as a machine of consumption. Food Democracy brings together contributions from leading international scholars and activists, critical case studies of emancipatory food practices and reflections on possible models for responsive communication design and art. A section of visual communication works, creative writings and accounts of participatory art for social and environmental change – curated by the Memefest Festival of Socially Responsive Communication and Art on the theme of "Food Democracy" – are also included here. The beautifully designed book also includes a unique and delicious compilation of socially engaged recipes by the academic, artist and activist community. Aiming not just to advance scholarship, but to push ahead real change in the world, Food Democracy is essential reading for scholars and citizens alike.Trade Review'Food Democracy concludes with editor Vodeb’s visual essay, “Living Out a Situation: The Memefest Food Democracy Brisbane Sessions,” which highlights how the 2013 Festival symposium and workshop applied an extradisciplinary approach that merged experimental research with art and design. As the form and subject of this conclusion show, Food Democracy is not your traditional academic book. By including contributions from academics, activists, and professionals in fields from art, design, the social sciences, and philosophy, Vodeb expands the topic’s scope and shows the benefit of interweaving a variety of approaches and research tactics. In other words, Food Democracy offers everyone a seat at the table.' -- Jennifer A. Vokoun, Design and Culture 10.2'In this compelling collection, Memefest contributors remind us why food lies at the heart of contemporary political struggle. The single most damning truth about contemporary global society is that people continue to starve on a planet that produces enough food to nourish its entire population. This tragedy results from the use of food as a medium of control and a source of profit. The essays in this collection provide a crucial source for developing the tools and practices to support sustainable democracy in a time of global instability. Now more than ever we need the Memefest organization’s prescient blend of theory and practice, aesthetics and politics.' -- Mark Andrejevic, Monash University, Pomona College'The most effective step you can take to save the world, and yourself, is to change the way you eat. The food industry is responsible for more health problems, environmental damage, and social strife than any other. By choosing what to put in our mouths, we can heal ourselves, save the topsoil, feed the hungry, and overturn neoliberalism. Food Democracy shows the many easy, powerful, and delicious ways to achieve a sustainable future. We are what you eat.' -- Douglas Rushkoff, author, Throwing Rocks at the Google Bus'This extraordinary new book challenges us to reclaim the role of design and public communication in imagining a democratic future of food. By recognizing that representation, as well as production, distribution and consumption, is a key element in the way the global food system works, this book shows that design is crucial to determine how we think about food. As an answer to this, Oliver Vodeb has curated an inspiring collection of examples of alternative food design bringing together activists, cultural producers and academics and in the process has redefined what food design may mean.' -- Ilaria Vanni, University of Technology Sydney'What can tactical sustenance be in a world where hunger is a part and parcel of our current strategic market systems and governance that function to maintain "food insecurity" on a global scale. Food Democracy is a direct response to navigating this Meat-Market-State by focusing on community research initiatives and artist practices of avant-gardening and beyond that can help us re-configure how our food is designed, how our food is sold, and who has access to food. This book is not just about what the problems are – but what can we do about it.' -- Ricardo Dominguez, Electronic Disturbance Theater'This large volume is a thought-provoking hybrid between a traditional collection of essays, a set of recipes (one for each essay), and a catalogue of visual and participatory art pieces and social engagement interventions. The format is the direct reflection of Memefest and its Festival of Socially Responsive Communication, Design, and Art, whose participants and contributors believe that academia, social movements, and professional environments should not operate in silos, but interact and cross-pollinate beyond the customary institutional distinctions. Full review to be published in the International Journal of Food Design.' -- Fabio Parasecoli, The Huffington PostTable of ContentsHungry for Change + Thirsty for Life: Socially Responsive Communication, Design and Art Kitchen and its Dishes Oliver Vodeb Mean Cuisine: Being a Polemical Discussion of Food in Excess of Necessity, its Uses and Abuses Darren Tofts The Global eat Autocracy: An Issue of Social Injustice: Cartelization of the Global Meat Industry Cirila Toplak A Shortage of Democracy, Not of Food and Water: Trends Shaping Today's Food Industry Nikola Janović Kolenc Making Time: Food Preservation and Ontological Design Abby Mellick Lopes, Tessa Zettel Everything Has a Story: Decolonization, First Nations Sovereignity, and the Seventh Pillar of Food Sovereignty in the Australian Context Sam Burch Hungry: Self-Employment on Street Food Markets and the Political Dimension of Consumption Aida Baghernejad Marti Guixé's Food Designing: A Critique of Consumerism Katherine Moline Somewhere over the Rainbow: Cooking a Slovenian Path to a 'Better' Future Tanja Kamin, Andreja Vezovnik, Pavlina Japelj $$TM - The Sociosoma Renfah Urban Agriculture in Havana Everything Fresh Including Design Claudio Sotolongo Food for Thought Visual Practice as Activist Research George Petelin Geographies of Hope The Laboratory of Insurrectionary Imagination What Lies Outside the Cavern Eugenio Tisselli Trisikaideka | 13 | UMAMI Veeranganakumari Solanki The Hidden Sacrifice Mariano Mussi Designed Pleasure How Advertising Is Selling Food as Drugs Oliver Vodeb Pleasure Praxis Oliver Vodeb Food Democracy - Friendly Competition 2013 - Visual Communication Practice Curated by Oliver Vodeb Eat for Democracy Miha Mazzini, Marko Plahuta Edible Illusions Ashlea Gleeson, Jack Loel Merry Kurban Bayrami and Happy New Year Rodolfo Medina Flores, Jakub Fišer Seeds of Hope/Destruction Mohammad Naser What Are You Really Eating? Jessica Nuzum Michael Pollan’s Food Rules Marija Jaćimović, Benoit Detalle Orto Diffuso Mariella Bussolati The DIY High Fructose Corn Syrup Kit Maya Weinstein Consciencia Sandra Rojas What Do We Know about the Andean Quinoa Industry? Lucy Datyner Happy Cow Kate Simpson Who do You Feed with the Food You Eat? Maria Isabel Isaza Echeverry Migrants in Europe Marko Damiš, Zdravko Papič (mentor and friend) Untitled Stephan Gross El Futuro se construye en el Campo Andres Rodriguez Land Grab – The Game Katherine Jauczius Guerilla Torches Dylan Leak The Perfect Tomato Hayley Smith Just a Little Money Involved Sybille Neumeyer Pick Me Zayra Dolores Food Democracy Liam Matthews The Patch Oscar Waugh Facing (orig. Im Angesicht) Julia Unkel Engineered Corn Khaula Al Ameri The Food Trade Apparatus (FTA) Thomas Roohan Info(od)graphics Scott Burns Meet & Two Veg Sophie Van Der Drift How Much Is Enough? Eugenia Demeglio, Alberto Novello Los Ojos de las Milpa (The Eyes of Milpa) Eugenio Tisselli (Et All) Seed Matter Christine Matter Conflict in the Kitchen: Dawn Weleski and Jon Rubin Oliver Vodeb Living Out a Situation: The Memefest Food Democracy Brisbane Sessions, Visual Essay Oliver Vodeb Eat Me - Recipes Various

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Book SynopsisTime, Duration and Change in Contemporary Art presents a major study of time as a key aesthetic dimension of recent art practices. This book explores different aspects of time across a broad range of artistic media and draws on recent movements in philosophy, science and technology to show how artists generate temporal experiences that resist the standardized time of modernity: Olafur Eliasson's melting icebergs produce fragile temporal ecologies; Marina Abramović's performances test the durations of the human body; Christian Marclay's The Clock conflates past and present chronologies. This book examines alternative frameworks of time, duration and change in prominent philosophical, scientific and technological traditions, including physics, psychology, phenomenology, neuroscience, media theory and selected environmental sciences. It suggests that art makes a crucial contribution to these discourses not by 'visualizing' time, but by entangling viewers in different sensory, material and imaginary temporalities. Table of ContentsAcknowledgements Introduction Part I: Time Chapter 1: Marking Time in Conceptual Art Chapter 2: Around the Clock: 24/7 Times Chapter 3: Dust and Duration: Timing Women’s Work Part II: Duration Chapter 4: Temporal Fever: Archive and Database Chapter 5: Duration and Endurance: Minimalism and Performance Chapter 6: Microtemporality: Time Perception in Film and Video Chapter 7: Accumulative Art and the Time of Stuff Part III: (Interregnum): Relativity Chapter 8: Special Relativity: Time and the Art of Instability Chapter 9: Cultural Relativity and the Time of the Other Part IV: Change Chapter 10: Beyond Our Time: Entropy and Icebergs Chapter 11: Speculative Time and Contemporary Art Stone in Hand: A Brief Conclusion Bibliography Index

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Book SynopsisTransformations in Cuban art, literature and culture in the post-Fidel eraCuba has been in a state of massive transformation over the past decade, with its historic resumption of diplomatic relations with the United States only the latest development. While the political leadership has changed direction, other forces have taken hold. The environment is under threat, and the culture feels the strain of new forms of consumption.Planet/Cuba examines how art and literature have responded to a new moment, one both more globalized and less exceptional; more concerned with local quotidian worries than international alliances; more threatened by the depredations of planetary capitalism and climate change than by the vagaries of the nation's government. Rachel Price examines a fascinating array of artists and writers who are tracing a new socio-cultural map of the island.Trade ReviewA rich revelation of Cuban art today; it will amaze, fascinate and instruct. -- Fredric JamesonThis brilliant book charts the cultural life in Cuba from the coming to power of Raúl Castro to the 'normalization' of relations with the US. What could be more timely than a cognitive map of this already heterogeneous island, once a trigger point in the Cold War, as it is vectored by new forces that are planetary in reach-neoliberalism, climate change, and pervasive surveillance? -- Hal Foster, author of Bad New Days: Art, Criticism, EmergencyPrice's insights into this complicated and conflictive landscape make for cultural criticism at its best-ample in range, acute in its eye for the telling detail. Contemporary Cuba is a moving target and this book gets that, following along with clarity, grace and flashes of illumination. -- Rachel Weiss, author of To and From Utopia in the New Cuban ArtA superbly crafted book that takes scholarship on Cuban art and literature in a fresh, entirely new direction. Planet/Cuba is both uniquely timely and full of foresight: it will shape discussion of contemporary Cuba for years to come. -- Esther Whitfield, Brown UniversityPrice shrewdly surveys art in Cuba over the period since Fidel Castro ceded control of the government to his brother Raúl . [An] excellent and welcome study. * Choice *This meticulously detailed text is a productive exploration of globalized Cuban art and culture. * Publisher’s Weekly *

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Book SynopsisThe fifteen groundbreaking essays contained in this book address the concept of adaptation in relation to horror cinema. Adaptation is not only a key cultural practice and strategy for filmmakers, but it is also a theme of major importance within horror cinema as a hole. The history of the genre is full of adaptations that have drawn from fiction or folklore, or that have assumed the shape of remakes of pre-existing films. The horror genre itself also abounds with its own myriad transformations and transmutations.The essays within this volume engage with an impressive range of horror texts, from the earliest silent horror films by Thomas Edison and Jean Epstein through to important contemporary phenomena, such as the western appropriation of Japanese horror motifs. Classic works by Alfred Hitchcock, David Cronenberg and Abel Ferrara receive cutting-edge re-examination, as do unjustly neglected works by Mario Bava, Guillermo del Toro and Stan Brakhage.Table of ContentsIntroduction1. Monstrous adaptations: an introduction - Richard J. Hand and Jay McRoyPart I: From page to scream: literary adaptation and horror cinema2. Paradigms of metamorphosis and transmutation: Thomas Edison’s Frankenstein and John Barrymore’s Jekyll and Hyde - Richard J. Hand3. Painting the life out of her: aesthetic integration and disintegration in Jean Epstein’s La Chute de la maison Usher - Guy Crucianelli4. The unfilmable? H. P. Lovecraft and the cinema - Julian Petley5. Imperfect geometry: identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman - Brigid CherryPart II: Re-imaginings and re-articulations: thematic adaptation in contemporary horror cinema6. Out from the realist underground; or, the Baron of Blood visits Cannes: recursive and self-reflexive patterns in David Cronenberg’s Videodrome and eXistenZ - Steffen Hantke7. ‘These Children That You Spit On’: horror and generic hybridity - Andy W. Smith8. ‘Our Reaction Was Only Human’: monstrous becomings in Abel Ferrara's Body Snatchers - Jay McRoyPart III: From avant garde to exploitation: cinematic experiments as monstrous adaptation9. Adapting the occult: horror and the avant garde in the cinema of Stan Brakhage and Ken Jacob - Marianne Shaneen10. The Gorgon: adapting classical myth as gothic romance - I. Q. Hunter11. Marion Crane dies twice - Murray PomerancePart IV: Displacements and border crossings: horror cinema and transcultural adaptation12. Adapting legends: urban legends and their adaptation in horror cinema - Mikel J. Koven13. Fulcanelli as a vampiric Frankenstein and Jesus as his vampiric Monster: the Frankenstein and Dracula myths in Guillermo del Toro’s Cronos - Brad O’Brien14. Gothic horrors, family secrets, and the patriarchal imperative: the early horror films of Mario Bava - Reynold Humphries15. ‘In the Church of the Poison Mind’: adapting the metaphor of psychopathology to look back at the mad, monstrous 80s - Ruth Goldberg16. ‘Everyone Will Suffer’ – national identity and the spirit of subaltern vengeance in Nakata Hideo’s Ringu and Gore Verbinski’s The Ring - Linnie BlakeIndex

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Book Synopsis This stunning publication unearths the priceless scores at the heart of The Juilliard School's unparalleled collection that has supported the education of performing artists for more than a century. Famed soprano Renée Fleming describes Juilliard School Library Music Manuscripts as a ?map to the treasure of one of the world's finest collections of musical manuscripts. This richly illustrated and elegantly designed book features masterpieces including the final manuscript of Beethoven's Ninth Symphony, with revisions, corrections and alterations by the composer; the autographed manuscript of the final scene of Mozart's The Marriage of Figaro; an extensively worked and autographed manuscript of the first movement of Mahler's Ninth Symphony; Stravinsky''s published scores with his own annotations; and holographs of Ysaÿe's violin sonatas. Delve into the amazing stories behind these unique manuscripts, sketches, engravers proofs and first edi

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Book SynopsisIn the first half of the twentieth century, artists, intellectuals, writers, thinkers and patrons in Europe and the United States created a large number of artistic communities, circles, groups and movements with the aim of providing alternatives to the increasingly conflictual political and intellectual climate; the works and artistic practices of many of these groups were marked by an ethos of collaboration, based on a collective understanding of artistic production, and on the nurturing and exercise of sociability and conviviality. Collaboration, sociability, friendship and collective artistic efforts represented the utopian aspects of the radical experiments carried out by avant-garde and modernist artists; they were also the counterparts of the period's obsession with the notion of genius and the cult of the artist. This book offers studies of under-researched (and often consciously provincial) avant-garde and modernist groups and authors. Their progressive aims are here read as particular forms of utopia based on the ethics and aesthetics of community. The essays in this volume analyse the significance (and failures) of literary coteries as spaces of aesthetic and political freedom. They explore the internationalist and interdisciplinary practices of the Porza Group, the abstrakten hannover and the anthroposophical group Aenigma; the utopian efforts of the artists' communities at Dornach (Switzerland) and Farley Farm, in England; the political and aesthetic implications of collaborative practices of cultural mediation, criticism and translation within the Bloomsbury group, the Young American Critics, and of single individuals in relation to networks and avant-garde coteries, such as Mina Loy, the Baroness Elsa von Freytag-Loringhoven and Djuna Barnes. The volume offers an evaluation of the roots and ethos of sociability in the Enlightenment, as the basis of modernist utopias of community; it also reflects on the problematic notion of individual authorship within artistic groups, as in the case of the early-modernist Finnish author Algot Untola, who created around forty fictitious author-names.

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Book SynopsisAre the Oscars (still) so white? Is it even possible to decolonise the film industry? Why is Hollywood''s race problem everyone''s problem?Ignoring the systemic racial inequalities in film is losing the industry $10 billion a year. Yet, parity, diversity, and inclusion are fundamental issues that the Oscar Awards are only just beginning to address.In this book, award-winning writer, broadcaster, model, and fashion designer, Ben Arogundade, provides a manual for deconstructing everything you thought you knew about Hollywood - documenting the stories and struggles of black artists within the movie industry that have so far been left out of the canon.The chapters are structured chronologically around different Oscar winners, from Hattie McDaniel to Halle Berry. Each section is rich with exhaustive research from critics, activists, and academics, as well as interviews with stars and those within the film industry, to demonstrate sociological and historical influences on black artists, highlight positive progress, and make you realise that certain attitudes still remain.Hollywood Blackout is a much-needed provocation to look more critically at the accepted narratives within film, and examine how the industry both reflects and influences societal views on race.

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Book SynopsisAre the Oscars (still) so white? Is it even possible to decolonise the film industry? Why is Hollywood''s race problem everyone''s problem?Ignoring the systemic racial inequalities in film is losing the industry $10 billion a year. Yet, parity, diversity, and inclusion are fundamental issues that the Oscar Awards are only just beginning to address.In this book, award-winning writer, broadcaster, model, and fashion designer, Ben Arogundade, provides a manual for deconstructing everything you thought you knew about Hollywood - documenting the stories and struggles of black artists within the movie industry that have so far been left out of the canon.The chapters are structured chronologically around different Oscar winners, from Hattie McDaniel to Halle Berry. Each section is rich with exhaustive research from critics, activists, and academics, as well as interviews with stars and those within the film industry, to demonstrate sociological and historical influences on black artists, highlight positive progress, and make you realise that certain attitudes still remain.Hollywood Blackout is a much-needed provocation to look more critically at the accepted narratives within film, and examine how the industry both reflects and influences societal views on race.

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Book SynopsisAre the Oscars (still) so white? Is it even possible to decolonise the film industry? Why is Hollywood''s race problem everyone''s problem?Ignoring the systemic racial inequalities in film is losing the industry $10 billion a year. Yet, parity, diversity, and inclusion are fundamental issues that the Oscar Awards are only just beginning to address.In this book, award-winning writer, broadcaster, model, and fashion designer, Ben Arogundade, provides a manual for deconstructing everything you thought you knew about Hollywood - documenting the stories and struggles of black artists within the movie industry that have so far been left out of the canon.The chapters are structured chronologically around different Oscar winners, from Hattie McDaniel to Halle Berry. Each section is rich with exhaustive research, to demonstrate sociological and historical influences on black artists, highlight positive progress, and make you realise that certain injustices still remain.Hollywood Blackout is a much-needed provocation to look more critically at the accepted narratives within film, and examine how the industry both reflects and influences societal views on race.

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Book SynopsisFind love, friendship and prosecco – in the magical city of VeniceLife is tough for Penny. A dead end job in a London café, a boyfriend in Australia (what could go wrong?) and an art career going nowhere. But then Penny is approached with an extraordinary proposition.It isn’t going to be easy but, if she can pull it off, she will turn her life around and at long last see the fulfilment of her dream – to visit Venice. And, just maybe, find true happiness with the handsome man of her dreams.But can dreams come true?An unputdownable feel-good story perfect for fans of Mandy Baggot, Holly Martin and Tilly Tennant.Praise for T. A. Williams‘The characters in the story really make it exceptional … Natalie is a brilliant protagonist … and I absolutely adored her journey to self-discovery to find her new identity.’ BooksandBookends‘Wow! This is contemporary romance at its best! The writing is exquisite… and the plot is brilliantly clever, captivating, and delightful with a little bit of drama, love, loss, and of course romance.’ WhatsBetterThanBooks‘The characters are all brilliantly written, the storyline flows extremely well throughout, and I loved every bit of it.’ Fiona Wilson‘T. A. Williams has that gorgeous way of writing a feel good story… he’s absolutely backed up that men can write chick-lit.’ Reviewed The BookTrade ReviewThere are currently no reviews for this title/product

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Book SynopsisLeonardo da Vinci (1452-1519) was one of the preeminent figures of the Italian Renaissance. He was also one of the most paradoxical. He spent an incredible amount of time writing notebooks, perhaps even more time than he ever held a brush, yet at the same time Leonardo was Renaissance culture's most fanatical critic of the word. When Leonardo criticized writing he criticized it as an expert on words; when he was painting, writing remained in the back of his brilliant mind. In this book, Joost Keizer argues that the comparison between word and image fueled Leonardo's thought. The paradoxes at the heart of Leonardo's ideas and practice also defined some of Renaissance culture's central assumptions about culture and nature: that there is a look to script, that painting offered a path out of culture and back to nature, that the meaning of images emerged in comparison with words, and that the difference between image-making and writing also amounted to a difference in the experience of time.

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Book SynopsisA highly original book in which the author proposes an expanded field of aesthetics, guided by her philosophy and approach to working, through the ways that philosophy can be manifested in art. She demonstrates the depth and complexity that she brings to her work through a sustained and committed relationship to working with animals across multiple projects. The book tells real-world stories about the author’s creative encounters – with animals, plant life, mineral beings and forest ecosystems – in her Vancouver-based interspecies art practice, Animal Lover, and how they shifted her outlook on the Earth and all of life. Each chapter presents a weaving together of personal reflection, interdisciplinary research, critical thought and art methods. The threads converge on this main point: the need to move away from anthropocentrism and towards ecological understanding, reciprocity and biophilia. The local journeys in each chapter are guided by more-than-human ways of knowing which provide an expanded sense of the world and an understanding of the imperative for action. This book is an invitation to readers to step into more-than-human worlds, re-sense life and re-think their relationship with the planet and all its inhabitants. It asks readers to slow down, look around and listen – and feel. Love for life is practised by all beings in their lively projects. It is what joins us together in the relational flourishing that is the vital wondrous complexity of the Earth. The Anthropocene is a term used to describe the geological era in which we live, marking the realization that humans have become such a force that we are affecting the Earth’s air, lands, oceans, climate. At its core, in the modern Eurocentric societies that typify this era, is an entrenched worldview of nature as a means to fuel global capitalist-colonial systems. This anthropocentric worldview justifies the colonization and exploitation of ecosystems and nonhuman life, seen as ‘resources’ available for human expansion and prosperity, and readily available as free labour. The consequential outcomes are manifest in today’s climate emergency and ecological degradations including animal slavery, industrial farming, over-fishing, deforestation and habitat loss, and the coming environmental collapse with its sixth mass extinction. Within recent decades, the sustainability of anthropocentric views have been called into question across disciplines. Lessons from a Multispecies Art Studio joins with these movements, and offers new applied approaches – from interspecies art – to help shape and evolve human outlooks, emotions and actions. Primary readership will be research-creation academic artists working with animals, and researchers working around animals; more-than-human-animal activists; artists and emerging artists, as well as to art theorists and to those with a strong interest in environmental values.Table of ContentsIntroduction Dogs Dog lessons Early days Dog communications Communication ethics Transformation EPIC_Tom Crows and Stones A gift from a crow Good neighbours Crow mind and narrative ethics Stone communications Stone aesthetics Ruins Other gifts Crow Stone Tone Poem New gift, new art Salmon and River Salmon lesson River The Adams River spawning grounds Salmon migration projects Fish ways of knowing Salmon People Forest Dawn The forest Life’s beginnings Phyto-fungal-communications Interspecies indeterminacy and biophilic attention Anthrophony Old trees Biophilia Afterword Acknowledgements

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Book SynopsisProfessional practice is increasingly becoming more complex, demanding, dynamic and diverse. This important and original new book considers how self-study using arts-based methods can enable purposeful reflection toward understanding and envisioning professional practice. Ideally for visual arts practitioners on all levels, this book presents a self-study model grounded in compelling research that highlights arts-based methods for examining four areas of professional practice: professional identities, work cultures, change and transitions and envisioning new pathways. Chapters address the components of the self-study model, artistic methods and materials, and strategies for interpreting self-study written and visual outcomes with the aim of goal setting. Each chapter includes visuals, references and end-of-chapter prompts to engage readers in critical and visual reflection. Appendices offer resources and guidelines for creating and assessing self-study outcomes. The fluctuating nature of professional practice necessitates the pursuit of discernment and clarity that can be achieved through an ongoing reflective practice. Self-study is a systematic and flexible methodology for purposeful reflection on professional practice that embraces dialogic, interpretive, rhizomatic and visual inquiry. Self-study can occur at any level of practice and in the context of work-related professional development, formal study or as a self-initiated inquiry. An arts-based self-study model for visual arts practitioners is explored and focuses on four intersectional components shaping professional practice: professional identities, work cultures and communities, transition and change within professional practice and envisioning new pathways for professional practice. The self-study model is grounded in contemporary theory, practice and compelling research, and embraces robust strategies for understanding the complexities of professional practice that can include dual, multiple, overlapping, hybrid and conflicting professional identities, tensions within work cultures and unexpected changes within professional practice. Each chapter focuses on a component of the self-study model and an area of professional practice, concluding with references and end-of-chapter prompts that are aimed to facilitate critical reflection-on-practice and the creation of written and visual responses. With visual arts practitioners in mind, various arts-based methods for self-study are discussed that highlight visual journaling as a key method for engaging in self-study. Interpretive research methods are discussed to guide readers in understanding the phases and processes for interpreting written and visual self-study outcomes. Processes are outlined to help readers determine key insights, themes, issues and questions from their self-study outcomes, how to use them in formulating new questions and articulating new professional goals. Several levels for interpretation are presented to offer readers options relative to their professional needs and aims. Throughout the text, charts and visuals serve to summarize and visualize key chapter points. Images by visual arts practitioners appear throughout the text and represent a wide range of artistic media, methods and approaches appropriate for self-study. The appendices provide additional resources for enhanced understanding of chapter concepts and key terms, guidelines and rubrics for writing reflections, creating visual responses and using a visual journal in the self-study process. Primary readership will be visual arts practitioners at all levels. Ideal for university level graduate courses or as a guide for individuals and small groups of practitioners who seek to engage in arts-based self-study as professional development.Table of ContentsIntroduction 1. Framework and Components of a Self-Study Model for Visual Arts Practitioners 2. Overview of Arts-Based Media for Self-Study 3. Exploring the Complexity of Professional Identity Formation 4. Factors Shaping Professional Identity and Professional Practice in Work Cultures 5. Exploring Change within Professional Practice 6. Issues and Methods for Self-Study Artefact Interpretation 7. Envisioning Professional Practice Conclusion Appendices

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Book SynopsisCanadian Critical Luxury Studies: Decentering Luxury is a dynamic new contribution to the study of luxury. The essays in this collection challenge Euro- and US-centric perceptions that bind luxury to either a colonial past or a consumerist present. The book announces a new collective of thinkers who focus on Indigenous and Canadian instances of luxurious production, experiences and sites to propose a new definition of luxury that includes a plurality of regional practices highlighting that Canadian luxury centres on community and connection. Each of the interdisciplinary contributions analyse luxury from different vantage points to understand why luxury has succeeded or failed in the Canadian context. From the history of the fur trade to the latest Indigenous fashion movement, from the T. Eaton Co.’s 1920s Made-in-Canada campaign to the on-again-off-again Toronto Fashion Week, from Vancouver public art commissions to Montréal’s future-forward fashiontech sector, the essays in this volume explain what makes and breaks Canadian luxury. These original case studies redefine luxury for Canada – a former colonial possession and contemporary second-tier cultural market – and lay the foundation for the critical study of luxury in other historically secondary geographies that produce, consume and circulate material and symbolic luxuries. The collection ultimately challenges old myths and the mystique surrounding European luxury to give it a new lustre that shines light on those actors who have been historically excluded from its privilege: Indigenous peoples, immigrants, the working classes. It sheds light on the reasons that conventional expressions of luxury may fail in secondary markets and offers guidance for fashiontech innovations that invest in the individual without imposing dehumanizing values of efficiency and rational measurement. Although focused on the Canadian context, the book will appeal to an international audience of scholarly and industry readers. Its interventions about broadening the focus of luxury studies beyond traditional sites in Western Europe make it an important text for global audiences. It offers an alternate reading of conventional luxury histories, sites and practices; in doing so, it models a national approach to luxury that can be applied to alternate national markets. Jessica P. Clark is a historian of Britain and empire, with a focus on gender, consumption and labour, and an associate professor of history at Brock University, Ontario, Canada. Nigel Lezama is an associate professor of French studies at Brock University and works at the intersection of fashion, luxury, literary and cultural studies. Contributions are drawn from a number of fields including, but not limited to, Indigenous studies, museum studies, business management, cultural studies, fashion studies, technology and industry. Contributors include Kathryn Franklin, University of Toronto; Rebecca Halliday, Toronto Metropolitan University; Riley Kucheran, Toronto Metropolitan University; Valérie Lamontagne, Concordia University; Marie O'Mahony, Ontario College of Art and Design; Julia Polyck-O'Neill, York University, Ontario. This is a primarily an academic book. It is of great relevance to scholars within the subfield of critical luxury studies, as well as scholars of consumer and commodity cultures more broadly, and those working or interested in Canadian studies, media studies, critical studies, and historians. Researchers and postgraduate students studying luxury as well as those studying the history of the development of Canada, its colonial past and the marginalization of Indigenous people, and with the development of fashion technologies will also find it useful. Academics and practitioners concerned with the development of city and nation branding will find the book of value. Table of ContentsList of Figures Acknowledgements Introduction – Nigel Lezama PART 1: RESURGENCE AND REVISION 1. Luxury and Indigenous Resurgence – Riley Kucheran with Jessica P. Clark and Nigel Lezama 2. Putting Canada on the Map: A Brief History of Nation and Luxury – Jessica P. Clark 3. From Unvalued to Surplus Value: ‘Made-in-Canada’ Luxury at Eaton’s in the 1920s – Nigel Lezama PART 2: SPACE AND PLACE 4. Runway off the Mink Mile: Toronto Fashion Week and the Glamour and Luxury of Yorkville – Kathryn Franklin and Rebecca Halliday 5. Vancouver’s Monuments to Capital: Public Art, Spatial Capital and Luxury – Julia Polyck-O’Neill PART 3: FUTURE OF CANADIAN LUXURY 6. Beyond the Catwalk: What Happens When Luxury Meets Digital? – Marie O’Mahony 7. Contemporary Case Studies of Performative Wearables – Valérie Lamontagne Epilogue – Jessica P. Clark and Nigel Lezama References Contributors Index

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Book SynopsisLIFE: A Transdisciplinary Inquiryexaminesnature, cognitionand societyas an interwoven tapestry across disciplinary boundaries. This volume explores how information and communication are instrumental in and for living systems, acknowledging an integrative account of media as environments and technologies. The aim of the collection is a fuller and richer account of everyday life through a spectrum of insights from internationally known scholars of thenaturalsciences (physical and life sciences), social sciences and the arts. How or should life be defined? If life is a medium, how is it mediated?Viewed as interactions, transactions and contexts of ecosystems, life can be recognized through patterns across the sciences, including metabolisms, habitats and lifeworlds. The book also integrates discussions of embodiment, ecological values, literacies and critiques, with bioinspired, synthetic and historical design approaches to envision what could constitute artful living in an ever-evolv

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Book SynopsisLIFE: A Transdisciplinary Inquiryexaminesnature, cognitionand societyas an interwoven tapestry across disciplinary boundaries. This volume explores how information and communication are instrumental in and for living systems, acknowledging an integrative account of media as environments and technologies. The aim of the collection is a fuller and richer account of everyday life through a spectrum of insights from internationally known scholars of thenaturalsciences (physical and life sciences), social sciences and the arts. How or should life be defined? If life is a medium, how is it mediated?Viewed as interactions, transactions and contexts of ecosystems, life can be recognized through patterns across the sciences, including metabolisms, habitats and lifeworlds. The book also integrates discussions of embodiment, ecological values, literacies and critiques, with bioinspired, synthetic and historical design approaches to envision what could constitute artful living in an ever-evolv

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Book SynopsisThis book explores the tradition of critique in art and design education. It examines how critique, as a signature pedagogy in the field, has evolved, how it falls short, and what else it can be. Current practices are contextualized and suggestions are made for ways to have more open, inclusive and dynamic classroom conversations about art and design. Included is a discussion of the history of critique, grounding current practice in the discipline’s history, the field of education, and characteristics of contemporary students. The book is designed to be useful, with an array of critique methods, written by experienced arts educators. Each one guides the reader through a method, describing “why you might do it this way” and “for what group, purpose, or type of assignment”. The text explores what the art critique is, and what it can be, offering practical, updated approaches for faculty and students seeking more educationally beneficial and nuanced critiqueTrade Review"Let’s Talk about Critique includes a variety of ways to look at and talk about work, pushing beyond the stale traditions and enlivening the possibilities for what can happen in discussing art. Armstrong and Doren provide a very thorough history and critique of the critique, as well as solutions to the inadequacies of the past traditions. The book meets an important need, evolving the critique from an authority/judgment model to a dialogue where all voices are respected and content meaning is addressed." -- Susan Waters-Eller, Maryland Institute College of Art“In Let’s Talk about Critique, Armstrong and Doren make a compelling case for the necessity of different studio critiques within contemporary higher education. This book is an extensive and diverse catalogue of innovative studio critiques, explores the history of the studio critique, and discusses recent studies on Generation Z.” -- Roger Rothman, Bucknell UniversityTable of ContentsList of Figures List of Tables Acknowledgements Introduction 1. What Is a Critique? 2. The Critique’s History: How the Contemporary Critique Evolved 3. The Contemporary Student and the Critique 4. Critique And Assessment 5. Critique Methods Collection I: Non-verbal critiques Yun Shin and Emily Stokes Elissa Armstrong Nida Abdullah and Denise Gonzales Crisp Chelsea Coon Mariah Doren Susan Jahoda and Caroline Woolard II: Play and improvisation critiques Carol Elkovich Nida Abdullah and Denise Gonzales Crisp Jonathon Russell Laurie Gatlin Tyrus Clutter Jonathon Russell III: Pre-, mid-, post- and extended critiques Ane Gonzalez Lara Susan Jahoda and Caroline Woolard Leslie Bellavance Susan Jahoda and Caroline Woolard Elissa Armstrong Hannah Barnes IV: Student-centered critiques Gaia Scagnetti and T. Camille Martin-Thomsen Denielle J. Emans and Kelly M. Murdoch-Kitt April Friges Andrea Marpillero-Colomina Kristina Bivona nicole killian Hande Sever and Alexandre Saden melissa m button, Matt Nock, and Phil Stoesz V: Critique of critiques Mariah Doren Maya Krinsky Andy Broadey and Richard Hudson-Miles Matt King Morgan Alford, Alia Ali, Naama Attias, Julia Chai, Casey Chan, Jiayun Chen, Yingtong He, Ashley Hunt, Kaidi Jiu, Keunjae Kwon, Michael Mendoza, Oscar Ochoa, Alexeis Reyes, Ruoyi Shi, Estela Ana Silva, Allison Yasukawa, and Hanzhu Zhang Conclusion References Notes on Contributors

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Book SynopsisThis collection is the second in the Performance andCommunities series. Contributions from academics and artists engage with both these notions ofperformance that of identities in and throughtime and space - and of more formal instances ofspecific time-limited performances (textual/embodied/ visual/ communal). 31 b&w illus.

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Book SynopsisA timely examination of the use ofemerging technologies in the arts in recentdecades, from the first wave of Virtual Realitythrough to the current use of Mixed, Augmentedand Extended Realities. It highlights the necessityof understanding technological experiencesthrough the assumption that all experience isembodied. An explosion of digital culture andexperience has most certainly given artists andcreative practitioners new ways of exploring ahybridisation of creative practices with access totechnological tools only previously dreamt of.Further, there are a number of threads arounddigital embodiment and its centrality to the digitalexperience. The book is divided into 3: Section 1 explores thewhole notion of embodied experience through astudy of space and virtuality, imagination, andtechnology. Section 2 lays the ground for a moreexplicit understanding of the role the body has inour engagement with the digital technologiesfocussing on three distinct bodies: the gravitational body, the

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Book SynopsisAn introduction to pedagogy of dissensus. A pedagogy of dissensus is informed by the dissensual characteristics of art. The book includes both theoretical foundations and examples of how the theory is unfolded in different contexts ranging from educational practice to arts-based research. Motivated by the author's long-held interest in the role of art in society in general and education in particular, it is a vital new contribution to arts-based approaches to education. Referencing philosophers and theorists such as Jacques Rancière, Gert Biesta, Dennis Atkinson, and Helga Eng, Lisbet Skregelid demonstrates why art matters because of its ability to create necessary disturbance and resistance in education. In this book, she argues that art has something to offer education because it challenges existing norms, has no definitive answers, and contributes to new ways of seeing both oneself, others, and one's surroundings. Placing art at the center and enabling dissensus in education can

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Book SynopsisObéissant à la logique d’une spécialisation toujours plus grande, les sociétés contemporaines ne tiennent pas l’amateur en grande estime. Or, s’il est vrai que le 18e siècle consacre le triomphe de cette figure, c’est aussi l’époque où s’amorce son irréversible déclin. Couvrant un large spectre de disciplines et d’aires culturelles au sein de l’Europe, les contributions de spécialistes réunies dans ce volume permettent de mieux cerner ce moment-pivot de l’histoire culturelle.Sans se limiter aux formes institutionnalisées de l’amateurship étudiées par les historiens de l’art ou des sciences, l’ouvrage examine ainsi les relations que le non-professionnel entretient avec les gens de métier (dans la presse, le milieu musical ou littéraire) ; la spécificité des œuvres qu’il produit et sa contribution au progrès des arts et des sciences ; l’émergence, à l’âge de l’esthétique naissante, d’un amateur compris comme instance de jugement ; la manière dont il est investi par les discours et annexé à leurs logiques propres (en tant que fiction littéraire, idéal ou ethos). Observer le phénomène dans ses manifestations plurielles, confronter l’ordre des réalités et celui des représentations, articuler les diverses approches sur la question: l’enjeu, on l’aura compris, est moins de définir une quelconque identité de l’amateur, que d’interroger sa raison d’être.---Amateurs are not particularly appreciated in our ever specialising contemporary societies. Yet the figure of the amateur was highly celebrated in the eighteenth century, even though its irremediable decline began at the same time. The articles collected in this book allow a better understanding of this turning point in cultural history as they cover a wide spectrum of academic disciplines and European cultural areas.This book does not only deal with the institutionalised forms of amateurship that have been studied by art historians and historians of science. This work considers the relationships that non-professionals had with professionals (working in periodicals, in the musical world, or in the book trade) ; the specificity of the works that amateurs produced and their contribution to the progress of arts and sciences ; the rise of the amateur as a judging instance in a period that saw the development of aesthetics ; and the way this figure was handled in different discourses and subjected to their own logics (whether as a literary fiction, an ideal or an ethos). Since this collective work focuses on the phenomenon of amateurship in its diverse manifestations, confronts the real to its representations, and articulates different perspectives on the subject, it obviously does not aim at defining any identity for the amateur, but rather intends to question its raison d'être.Table of ContentsListe des illustrationsRemerciementsJustine de Reyniès, Introduction: l’amateur à l’époque des Lumières – tour d’horizon d’une notion problématiqueI. L’amateur: définitions et représentationsBaldine Saint Girons, L’ignorart, le donneur d’idées et le critique d’artUwe Wirth, Le dilettantisme stratégique ou la question du génie, du savoir et de la capacité dans les artsFabrice Moulin, A la recherche de l’amateur d’architecture au siècle des Lumières: de quelques usages de la maquetteIoana Galleron, Les talents à la mode: figures de l’amateur dans la comédie du dix-huitième siècleAlexander Wragge-Morley, Pathologies du désir: le corps et l’expérience esthétique dans les Two discourses sur la science du connaisseur de Jonathan RichardsonII. Les relations entre gens de métier et amateurs: frontières et mobilitéPierre Dubois, Musicien amateur et professionnel en Angleterre à la fin du dix-huitième siècle: confusion, rivalité ou échange?Georges Escoffier, De l’édition musicale à l’Académie de concert, représentations et pratiques de la musique en amateur dans la deuxième moitié du dix-huitième siècleMaud Le Guellec, Vers l’invention du statut de journaliste: la presse espagnole du dix-huitième siècle entre amateurismeet professionnalismeHenri Duranton, Amateur: une catégorie sociologique aux contours indécisIII. L’amateur, arbitre des arts et des lettresBénédicte Peralez Peslier, Le ‘sentiment’ des amatrices: spécificité des jugements littéraires dans les correspondancesféminines du dix-huitième siècleSuzanne Dumouchel, Amateurs et connaisseurs dans le journal littéraireIV. L’amateur et son oeuvreMarie-Emmanuelle Plagnol-Diéval, Y a-t-il une conscience d’être ‘amateur’ chez les auteurs et praticiens desthéâtres de société?Enrico Mattioda, Les dilettanti et le théâtre en Italie au dix-huitième siècle: pour une histoire du mot ‘dilettante’Adeline Gargam, Un exemple de pratique d’amateur et de ses limites en sciences naturelles: les collectionneuses de curiosités dans la France des LumièresNathalie Vuillemin, Contemplation utile ou vain amusement? La science microscopique dans l’EncyclopédieJustine de Reyniès, Un artiste du regard: l’amateur de coups d’oeilNathalie Kremer, Postface: enterrer l’amateurRésumésBibliographieIndex du volume

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Book SynopsisDealing with a complex king, this edited collection elucidates a monarch’s vision of Rome that deeply affected his political choices and cultural policy during the first half of the eighteenth-century. John V of Portugal became king in 1707 in a pivotal moment for the European balance of power. The Kingdom of Portugal was still demanding the same privileges as its powerful neighbours and the relation with Rome was considered a vehicle to obtain them. Arts and music had a special and unprecedented place in the king’s plans and this book approaches that dynamic from several interdisciplinary perspectives.The unifying thread across this book’s chapters remains the omnipresence of Rome as a paradigm on several levels: political, religious, intellectual, artistic, and musical. Rather than providing an exhaustive analysis of the period as a whole, this study offers a fresh approach for English readers to this classic, but little known, topic in Portuguese national historiography.Trade Review‘This study […] constitutes a far richer and more subtle description of music in Lisbon at the time of King João V than what was previously available, and provides a broader and richer political and sociocultural context.’Translated from Spanish:‘Este estudio […] constituye una descripción mucho más completa y sutil de la música de Lisboa en la época del rey João V que la disponible hasta ahora y proporciona un contexto político y sociocultural más amplio y rico.’ David Cranmer, Cuadernos de música iberoamericana‘[Politics and the Arts in Lisbon and Rome] constitutes a much more complete and subtle description of the music of Lisbon in the time of King João V than is available up to now and provides a broader and richer political and sociocultural context.’ David Cranmer, Cuadernos de Musica Iberoamericana Translated from Spanish, ‘[Politics and the Arts in Lisbon and Rome] Constituye una descripción mucho más completa y sutil de la música de Lisboa en la época del rey João V que la disponible hasta ahora y proporciona un contexto político y sociocultural más amplio y rico.’'Meticulously researched and well presented, this new book of studies successfully blends diplomatic, artistic, and cultural history, masterfully evoking a period which has often been studied, yet rarely with the depth that these new scholars bring to the table. The sheer variety of sources, both archival and printed, bring to light hitherto unconsidered facets of this fascinating period and monarch.' James W. Nelson Novoa, Journal of Early Modern HistoryTable of ContentsList of illustrationsList of abbreviations Pilar Diez del Corral Corredoira, Introduction: il viaggio mancato – John V and the origins of his vision of Rome I. Rome: paradigm and propagandaDavid Martín Marcos, Beyond policy: shaping the image of John V of Portugal in Rome Marília de Azambuja Ribeiro, Politics, spectacle and propaganda: the political use of patronage and the press by John V’s representatives in Rome during the first half of the eighteenth century Danielle Kuntz, ‘S’unisca il Tago al Tebro, il Tebro al Tago’: the politics of Portuguese patronage in Alessandro Scarlatti’s La Virtù negli amori Pilar Diez del Corral Corredoira,The Accademia del Portogallo: emulation and strategy in the papal city II. Lisbon: creative reappropriation Cristina Fernandes, Music, ceremonial and architectural spaces in the patriarchal church of King John V: the remaking of Roman models Fernando Miguel M. Jalôto, Antonio Tedeschi, ‘Sanctæ Patriarchalis Ecclesiæ Regius Cantor’: an Italian musician at the court of John V Giuseppina Raggi, Rethinking the artistic policy of King John V of Portugal and Queen Maria Anna of Habsburg: architecture and opera theatreIris Haist, The marbles and the modelli of Mafra: John V and the taste for Italian baroque sculpture Summaries Bibliography Index

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Book Synopsis«Compressed Utterances brings focused attention to collage in a Germanic context, whose contours and impact are still so little appreciated. As this stunning volume shows, collage serves as a key medium not only for understanding art historical developments but social and political transformations as well, often embodying the dynamic forces of avant-garde criticality.» (Thomas O. Haakenson, Associate Professor, History of Art and Visual Culture, California College of the Arts) 　 «A deep dive into the paradigmatic medium of the twentieth century, Compressed Utterances is the foundational text of the growing field of collage studies. The book’s established and emerging authors investigate an astonishing range of previously unknown collage work to explore German artists’ and writers’ deployment of this medium as appropriative, intertextual, alienating, and temporally slippery.» (Elizabeth Otto, Professor of Modern and Contemporary Art, The University at Buffalo, State University of New York) 　 Composite pictures create narratives and images from many fragments. They turn often disparate and juxtaposing images and text into a singular image or message. Collage makes from the broken and, arguably, no other country has reflected the fractious nature of its history more than Germany. 　 The collage form is one of the best expressive forms to be taken up and experimented with by German artists since 1912. Compressed Utterances: Collage in a Germanic Context after 1912 brings together essays by scholars, students and curators to examine the use of collage by German-speaking artists, making in their homeland and abroad, whose works are closely connected to the tumultuous histories of Germany and neighbouring German-speaking nations since 1912 to the late 2000s.Table of ContentsContents: Collage’s Interrelations: Text, Geography and Materiality – David Ragnar Nelson: City of Paper: The Materiality of Montage in Alfred Döblin’s Berlin Alexanderplatz (1929) – Astrid von Asten: «I Was Haunted by the Idea of Doing Something Absolute»: Hans Arp, Pioneer of Non-Objective Collage – Collage and Appropriation – Brett M. Van Hoesen: Colonial Botany and the Collages of Max Ernst – Ana María Gómez López: Fossils and Clippings as Odds and Ends: Johannes Weigelt’s Elusive Photomontages in Nazi Germany – Defining and Re-Defining Collage in a Postwar Context – Adrian Sudhalter: Collage as Symbolic Form: Margaret Miller, Collage and the «Dislocations of War» – Michael White: Montage Reassembled: Dada in the Postwar Archive – Collage and Corporeality – Oona Lochner: Cutting Across Lines: Lil Picard and the Reorienting Effects of Collage – Lisa Lee: Thomas Hirschhorn and the Incommensurable Gesture.

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Book SynopsisMore than twenty years after the peace agreement signed in Belfast on 10 April 1998, an assessment is overdue, particularly given the current political context in Northern Ireland. A serious political crisis led to the suspension of the regional institutions from January 2017 to January 2020, and the Brexit negotiations did not facilitate the search for a solution, especially as the confidence-and-supply agreement between the British Conservative Party and the DUP prevented London from acting as an honest broker between Sinn Féin and the DUP. At the same time, the issue of the Irish border created tensions between Dublin and London. This situation was compounded by the resurgence of rioting, mostly in Loyalist areas of Belfast and Derry/Londonderry, in April 2021, against the backdrop of Brexit’s Northern Ireland Protocol and communal resentment. Emanating from a conference jointly organised at the University of Caen Normandy and La Rochelle University, this collection of essays – bringing together academic and independent scholars from various disciplines and nationalities – takes a critical look at the implementation of the Good Friday Agreement, from the collaboration between Dublin and London to the new political configurations in Northern Ireland, as well as interfaith, cultural, social and economic developments. Divided into three main parts, it furnishes an opportunity to better understand the reasons for the apparent deterioration in inter-community understanding since 1998, but also to study the numerous initiatives that have sought to promote reconciliation, be it in the economy, the working environment, in the literary and artistic spheres, in schools or in the urban landscape.Table of ContentsContents: Olivier Coquelin, Brigitte Bastiat, Frank Healy: Introduction: Twenty Years of Peace and Reconciliation? – Political and Economic Developments – David Mitchell: Facets of the Unionist Experience since 1998: From the Agreement to Brexit and Beyond – Agnès Maillot: War by Other Means? Sinn Féin and Reconciliation since the GFA – Christophe Gillissen: Brexit and the Irish Border: An Historical Overview – Anne Groutel: Twenty Years after the Good Friday Agreement: Achievements, Prospects and Limits of Economic Cooperation between the Two Irelands – Religion, Urbanism and Education – Brian Mac Cuarta SJ: Reconciliation in Northern Ireland: One Jesuit’s Personal Experience – Gladys Ganiel: Protestants and Peacebuilding in Northern Ireland: Overcoming Opposition, Apathy and a Loss of Legitimacy? – Charlotte Barcat: The Peace Bridge and the Re- branding of the River Foyle in Derry- Londonderry: From a «Divided City» to a «Shared Space»? – Nadège Dumaux: Integrated Education and the Shared Education Programme: A Dichotomy in the Northern Irish Education System – Literature and the Arts – Bertrand Cardin: Troubles Never Come Singly: Paul McVeigh’s The Good Son and Northern Irish Pioneering Fiction about Gender Trouble – Brigitte Bastiat: Connecting with the «Nation» in Northern Ireland: Violence and Reconciliation in Four Plays by Owen McCafferty – Billy Gray: «You Can’t Grab Anything with a Closed Fist»: Reflections on Ulster Protestant Identity in Derek Lundy’s Men That God Made Mad: A Journey through Truth, Myth and Terror in Northern Ireland – Fabrice Mourlon: Beyond Trauma? The Expression of Survivors in Post- Conflict Northern Ireland – Hélène Alfaro- Hamayon: Art and Conflict Transformation: Models of Participation and Collaboration in the Shankill.

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Book SynopsisMaster the art of trivia with Art Trivia! This eye-catching portable box holds 140 multiple-choice questions about global works and artists from all eras. With topics ranging from ancient to contemporary art, fine arts to traditional crafts, museums and galleries to street art, this game will put your art smarts to the test!ENTERTAINING GAME NIGHT QUESTIONS: This bright box is filled with 140 surprising and engaging trivia questions about all things art, including artists, works of art, and art history, from ancient to modern, postmodern, and beyond. FUN FOR THE FAMILY & ART LOVERS OF ALL AGES: With three optional difficulty levels, this set of multiple-choice questions is perfect for players with every level of art knowledge.  TAKE IT ANYWHERE: The portable box is the perfect size to throw in your bag to take to game night, a family celebration, or on vacation. FUN TRIVIA GAME GIFT: Perfect f

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Book SynopsisA. M. AIKhalifa''s calling is to be creative, and she believes that in any creative profession or hobby, a person has a duty to research and communicate the values of the piece responsibly, as well as knowing that this method of creating is crucial to making anything meaningful. A. M. AlKhalifa delves into the ins and outs of such a significant profession like graphic design, opening the door to questions on just how important the responsibility of a graphic designer, or just about anyone with a career in the creative industries, is.Insights for Creatives is a book that explores visual communication and graphic design with a fresh approach, examining the role and responsibility of such a job. These messages spread beyond just graphic designers, making this book the perfect read for anyone with a passion for anything creative, wanting a new view or insight into the area they love.

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Book SynopsisIn the shadow of the Covid-19 pandemic, death has become an all too familiar feature of the early 2020s.The 21st century has in fact produced a singular historical moment with its unique intersection of popular politics, environmental extremes, globalisation and technological innovation, which has correspondingly created distinctive expressions of death, as well.This companion reveals our visions of death in the 21st century and what they say about us and the times we live in. Organised into sections on the war on terror, technology, climate change, extremism and global pandemics, the short, reader-friendly essays in this volume highlight crucial encounters with death in the contemporary period.

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Book Synopsis«With its meticulous documentation, this multifaceted volume brings a range of individual lives and networks to the fore, outlining their inestimable contributions to British culture. It is an inspiring and timely intervention into the fields of exile and childhood studies, demonstrating just how inextricably the two are linked.» (Professor Kiera Vaclavik, Director of the Centre for Childhood Cultures, Queen Mary, University of London) 　 The essays that make up this book cover a diverse range of subjects, all broadly on the theme of child refugees from Nazism in Britain. The book’s three sections – on displacement, children in art, and children in education and play – indicate the various topics considered in the study. The authors come from different academic fields – including German and Austrian exile studies, art history, language and literature, and education – so each chapter offers a depth of research as well as adding to the breadth of the overarching theme. Thus far, there has been no study dedicated to examining both the experience of these refugee children and those who worked with them, and yet they and their own children live on, marked in different ways by their experience and making their own mark in British art and literature too.Table of ContentsContents: Anna Nyburg: ‘A Piece of Rather Formidable News’: Motherhood in British Exile – Michal Shapira: The Psychoanalyst and Jewish Refugee Kate Friedlander (1902–1949) and Her Contribution to the Study of Children in Britain – Charmian Brinson: ‘In loco parentis?’: The Work of the Refugee Youth Organizations, Young Austria and Free German Youth, in Wartime Britain – Lucy Stone: ‘Michelle comprend le malheur’: Reading Writings by Children Displaced in the Nazi Era – Anthony Grenville: Childhood Trauma as Represented in Literary Works by Jewish Refugees from Nazism in Britain – Monica Bohm- Duchen: Innocence Sullied, Innocence Redeemed: Images of Childhood in the Work of Emigre Artists in the UK after 1933 – Julia Winckler: That Baby: Wolf Suschitzky’s and Liselotte Frankl’s Pioneering Children’s Photo Story Book – Ines Schlenker: Foreign Inspirations: Children’s Book Illustrations by Émigré Artists – Rachel Dickson: From Berlin to the Bodley Head: Renate Meyer (1930–2014): The Rediscovery of a Neglected Children’s Book Author, Illustrator and Artist – Elizabeth Lamle: Intergenerational Perspectives on Migration in the 1930s: The Letters of Lucian and Lucie Freud – Rolf Laven: A Pioneer of Children’s Art Pedagogy: Franz Čižek and His Influence in the English- Speaking World – Sian Roberts: Hilde Jarecki, Social Pedagogy and the Transformation of Society through Early Years Learning.

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Book Synopsis'A magnificent work of scholarship' - Edmund de Waal'I learned something new on every beautifully illustrated page' - Neil MacGregor'A fascinating book about a long-forgotten world' - Hadley FreemanThrough a series of striking case studies this revelatory book explores the world of Jewish country houses, their architecture and collections - and the lives of the extraordinary men and women who created, transformed and shaped them. Country houses are powerful symbols of national identity, evoking the glamorous world of the landowning aristocracy. Jewish country houses - properties that were owned, built, or renewed by Jews - tell a more complex story of prejudice and integration, difference and connection. Many had spectacular art collections and gardens. Some were stages for lavish entertaining, while others inspired the European avant-garde. A few are now museums of international importance, many more are hidden treasures, and all were beloved homes that bear witness to the remarkable

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Book SynopsisThe texts gathered in this volume embrace women artists-only exhibitions, festivals, collective art projects, groups and associations, organised in the long 1970s in Europe (1968-1984). These all-women art initiatives are closely related to developments within the political and politicized women’s movement in Europe and America but what emerges is the varied and plural manner of their engagements with feminism(s) alongside their creation of ‘heterotopias’ in relation to specific sites/ politics/ collaborative art practices. This book presents examples from Italy, Spain, UK, Portugal, Austria, Poland, Denmark, Germany (East and West), The Netherlands, France and Sweden. While each chapter is largely devoted to one country, the authors point to how the local and specific political situation in which these initiatives emerged is linked to global tendencies as well as inter-European exchanges. Each chapter of this book thus assesses the impact of travelling views of feminism, by considering connections made between women artists (often when travelling abroad) or their knowledge of art practices from abroad. Distinct and highly varied attitudes towards political activism (from strong engagement to a clearly pronounced distance and even hostility) are shown in each essay and, what is more, they are shown as based on radically different premises about feminism, politics and art. Contributors: Fabienne Dumont, Annika Öhrner, Katy Deepwell, Elke Krasny, Nina Hoechtl, Julia Wieger, Monika Kaiser, Kathleen Wentrack, Katia Almerini, Márcia Oliveira, Agata Jakubowska, and Susanne Altmann.Trade Review'One can only hope that this book will give rise to new publications on the same subject, which take Europe into account as a space for exchange and thought, as well as other, more peripheral, geographical areas.' (Translated from French) Phoebe Clarke, Critique d’art'All-women art spaces in Europe in the long 1970s is an ambitious and invaluable contribution to the fields of art history and gender studies that acknowledges the diverse practices of women artists and enriches our understanding of this transformative period in the history of art and feminism.'Ksenia Nouril, Women’s Art JournalReviews'The volume is characterized by its wealth of information [...] It is a knowledgeable and multifaceted contribution to the history of the women-specific and feminist art movement of the 1970s in a comparative and global perspective, and continues into the following decades.' (Translated from German.) Edith Futscher, FrauenKunstWissenschaft Table of ContentsAcknowledgements viiIntroduction 1Katy Deepwell and Agata Jakubowska1 Women Artists’ Collectives in France: A Multiplicity of Positionsin a Turbulent Context 19Fabienne Dumont2 Making Space for Feminism. All-Women Art Exhibitions inSweden in the 1970s 47Annika Öhrner3 Feminist Collaborative Projects in the UK in the 1970s 71Katy Deepwell4 ‘For Us, Art is Work’: In♀Akt – International ActionCommunity of Women Artists 96Elke Krasny5 The VBKÖ’s Archive as a Site of Political Confrontation, or HowCan You Sing Out of Tune? 119Nina Hoechtl and Julia Wieger6 The International Exhibition Kvindeudstillingen XX påCharlottenborg in Copenhagen and the Idea of Feminist Art Space 144Monika Kaiser7 Heterotopian Spaces of Feminist Art Practice: The Schulefür kreativen Feminismus and the Stichting Vrouwen in deBeeldende Kunst 167Kathleen Wentrack8 Women’s Art Spaces: Two Mediterranean Case Studies 189Katia Almerini9 Portuguese Women Artists at the National Society of Fine Arts:Why Was This Not a Feminist Exhibition? 209Márcia Oliveira10 No Groups but Friendship. All-Women Initiatives in Poland atthe Turn of the 1980s 229Agata Jakubowska11 ‘And – I have not taken him’. The Erfurt Women Artists’ Group 248Susanne AltmannNotes on Contributors 269Index 273

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Book SynopsisIn mid-eighteenth-century Paris, the encyclopedists launched a campaign to radically redefine the public dimension of all ‘imaginative’ arts, starting with music – with the querelle des bouffons – then theatre, the novel and finally the visual arts. Diderot, Rousseau and the Politics of the Arts in the Enlightenment exposes the correlation between the prejudices and hierarchies of the political and social system of the time and what d’Alembert calls ‘literary superstitions’. The book reconstructs the role of Diderot and Rousseau, frères ennemis, as they engaged in a dispute that was above all else political, despite revolving entirely around forms of artistic expression. Throwing a light on this important cultural event is all the more necessary because the essentially political dimension of Diderot’s Salons has since the nineteenth-century been completely obscured from view. Indeed, at first misunderstood and then totally neglected, for over two centuries their true significance has been systematically ignored by the aesthetic-idealist school of criticism.Table of ContentsPrefaceIntroductionPart I: The Beginnings: Music, Theatre, the NovelChapter 1. The problem of the theatrical Ancien régime: Musical operaChapter 2. Stage theatre: The real substance of the dispute Chapter 3: A ‘politics’ of the novel and the chasm between ancient and modernChapter 4. The function and destiny of badly written theatre Part II: The Subverters of the Artistic Culture of the Ancien régimeChapter 5: The Moment of the Fine ArtsChapter 6: Optical Illusions, and a Necessary PremiseChapter 7: Diderot and the Art of Politics for AllChapter 8: Painters and genres: norms, reality, the response of the marketChapter 9: New Spaces, Old Obligations Part III: In the Infernal Workshop of the Salons of PaintingChapter 10: Diderot, Rousseau and the ‘Citizen’ ArtistChapter 11: Towards a ‘Politics’ of the SublimeChapter 12: The Dignity of the Masses and the Eternal ‘Lie’ of AllegoryChapter 13: All that Others never Wrote Part IV: Finale Chapter 14: Concluding remarks and epilogue Bibliography

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Book SynopsisThe volume examines the various expressions of violence, its impact, forms of resistance and its representation in Irish society and culture. Its fifteen chapters are divided into four sections, History, Film, Theatre and Poetry, and cover all aspects of violence in its most comprehensive sense.

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Book SynopsisThis is a chronological account of the cultural history of the Cuban Revolution from 1959 to 2022, examining Cuban revolutionary culture and the control of it by the state. It is a cultural history guidebook about one of the most significant historical events in Latin America in the 20th and 21st centuries, using the most up-to-date sources.

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Book SynopsisExamines the relationshipbetween products, consumption, sustainability,politics and social movements. This 'pockethistory' surveys product design from theagricultural revolution and the birth of cities,through industrialisation, and a digital designrevolution. 58 b&w illus.

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Book SynopsisExamines the relationshipbetween products, consumption, sustainability,politics and social movements. This 'pockethistory' surveys product design from theagricultural revolution and the birth of cities,through industrialisation, and a digital designrevolution. 58 b&w illus.

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